Scan 164
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
14 lines. Read by computer on 5 October 2026. No printed page number was found. See the scan on archive.org.
1NERMEL (J.-M) — Paris circa 1780. Current work. Lived at the rue du Vieux-Colombier.
3NEZOT — Paris middle of xviiiith century. Violins of a small pattern: quite good make. Had the reputation of a good restorer.
5NICOLAS (Didier) — Mirecourt 1757-1838. The instruments by this very popular maker are so numerous that they must be divided into several categories. Those belonging to the first category were made by Nicolas himself, have a label and are often signed with a pen near the sound post. These instruments are somewhat scarce and are coated with an oil varnish of good quality, generally red. Other instruments entirely inferior in colour of varnish and workmanship are nevertheless not to be despised: their varnish, of hard composition, varies from light yellow to dark brown. The D. Nicolas ainé model has its originality, but is rather large, hence, not easy of manipulation. His mark was bought and worked by Derazey. It will be noticed that he wrote: « A la Ville de Crémonne »; with two « n's ». No 281.
7NICOLAS (Joseph) — Mirecourt circa 1840. Son of Didier. Has signed few instruments, being more of a business man. Same work as that of his father.
9NICOLAS (Mathieu) — Mirecourt and Paris towards 1800. Ordinary work. Yellow varnish. Branded at the button. Among the instruments by this maker some are well made, especially those of a medium pattern, slightly arched.
11NICOLAS (François) — Mirecourt 1800. Ordinary work.
13NICOLAS (François-Fourrier) — Called « Nicolas of Paris ». Paris 1758-1816. Pupil of Saunier in Paris. Although not of the first order, his work has genuine qualities. The very careful workmanship, the thick yellow varnish, more often bright red or even brown; of a successful composition, cause the instruments of this maker to be sought after, his 'cellos being particularly well made and of good measurements. Maker for the Royal School in 1784, he was later appointed supplier to the Royal Academy of Music. He was also maker for the Chapel of H.-M. the Emperor. Most
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